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Home , Arylide yellow, Cadmium pigments, Caput mortuum (pigment), Cordovan (color), Indian yellow, Ochre

PRODUCT GUIDE With Williamsburg Handmade Oil , the handmade quality of the respects the Centuries of Tradition upon which all quality professional are made. But at the same time, we are a modern company, born from the melting pot of today’s creative world-class. Our reputation was not inherited; it was built by working face to face with artists. We keep our promises, never hide behind tradition and hold fast to whatever makes beautiful . Williamsburg is a US brand, manufactured in New Berlin, New York. As a professional , it stands competitively alongside established European brands. The Williamsburg colors are incredibly rich, with a dense yet buttery texture; each color has its own finish and feel creating not only a palette of color, but also texture. Williamsburg has an extensive range of Cobalt and colors, as well as has a number of unique colors, particularly within the wide range of earth colors. Examples include: The Native Italian Earth Colors, Courbet , Persian , Cyprus , Montserrat Orange, Stil de Grain and . The History of Williamsburg Handmade Oil Colors In the mid-1980s artist Carl Plansky began making paint for himself and his friends in the Williamsburg neighborhood of Brooklyn, New York. He had no intention of turning his passion into a business, but interest in his paint escalated to a point where the business of ‘Williamsburg Art Supply’ was established out of necessity. Beginning with a small milling machine Ultramarine Cadmium Deep Alizarin Stil De Grain Each pigment is milled to its own unique standard, developing the richest expression of color and undertone. This approach preserves the range of texture oil paints had in the past. These variations in grind are categorized into four groups: (Left to right) Very Fine, Fine, Medium and Coarse. provided by artist Milton Resnick, Carl’s paint About Williamsburg making operation grew to employ several people and was moved just outside Oneonta, Getting the proper pigment is just the New York. Williamsburg’s oil paints accumulated beginning. So much of the quality of oil paint a following and international presence while is in the milling. With Williamsburg, each color preserving the handmade integrity of the paint. is milled to enhance the beauty and luminosity Carl had always been interested in pigments, specific to that particular pigment. Some colors oils, mediums, and old-world recipes, and will feel slightly gritty; others extremely smooth, enjoyed experimenting with traditional materials. preserving the wider range of differences oil Wherever he traveled he would research the paints had in the past. Cerulean will and the relationship between have a beautiful velvet, -absorbing surface painters and paint makers. with an extremely strong covering power; the In France he bought colors from the houses will often have a lesser grind and feel that had made paints for Monet, Matisse, and slightly gritty due to the larger pigment particle Cézanne then analyzed their paint to see how size. This grind allows light to travel through fine coarse the grind was and to determine the vehicle, exposing rich golden or where they found their pigments and oils. undertones instead of just heavy, dull . With this same passion, he continued to Just as in fine wines, the terroir defines the search for the most beautiful raw materials in specific soils, geology, minerals and climate the world, importing pigments from dozens of that create the unique qualities of each , countries so he could offer them to his fellow so do the various minerals in these very unique artists as paint and dry pigment. soils of oxides produce a very specific note of The legacy and integrity of Carl’s paint color, undertone and transparency. business survived his death in October of 2009. Most Williamsburg pigments are milled in The team he built at Williamsburg Handmade pure, premium, alkali-refined , the Oil Colors has preserved the passion and most durable and flexible of the different kinds creativity that Carl imparted under the of oils. There is also a line of colors milled leadership of Beverly Plansky, Carl’s sister and in safflower oil, designed for glazing and the business partner. top layers of a painting where flexibility is less In the Spring of 2010 Golden Artist Colors important and reduced yellowing over time is assumed responsibility for realizing Carl’s desired. dream for truly unique paints and mediums Our process gives us total control over the that reflect not only the traditions of painting product, much like the late nineteenth-century in Europe and North America, but the artist’s French color makers. All the materials are passion that drives them forward. Carl himself hand measured, and every ounce of paint is claimed that only Golden Artist Colors could scrutinized. make oil paints with the integrity and style of Paints are available in 37 and 150 ml non- Williamsburg. reactive aluminum tubes, as well as 8 oz., 16 oz. 32 oz. and gallon aluminum cans. WILLIAMSBURG COLORS Cobalt Light This section reviews the color families #6000728 PV 49 - Cobalt Ammonium of the Williamsburg line. Our extensive Phosphate offering features a wide range of cobalt i Transparent Very Fine and cadmium colors, several specialty Lightfastness: Excellent* blends, a large and varied assortment Ethereal, delicate, sublime. Not a strong tinter. of earth colors, and more. Cobalt Violet Deep LEGEND #6000748 PV 14 - Cobalt Phosphate h Opaque / j Semi-Opaque k Semi-Transparent Very Fine i Transparent / k Semi-Transparent Lightfastness: I - Excellent Richer, bluer, and stronger than the Violet Light Very Fine / Fine with a beautiful, deep, opaque glow. Medium / Coarse

ASTM Lightfastness Rating: Cerulean Blue (Genuine) I Excellent / II Good / III Fair #6000848 N/A Not Yet Tested PB 35 - Cobalt Stannate h Opaque Fine *GOLDEN Lightfastness Rating: Lightfastness: I - Excellent follows ASTM D4303 procedures Velvety, changeable blue. Greenish? Greyish? EX Excellent / GD Good / FR Fair Warm? Cool? Light and airy or dense and opaque. Absorbs and reflects light in an interesting way. Cobalt & Cerulean Oil Colors As a group, the Cobalts offer one of the widest Cerulean Blue French #6000857 spectral gamuts of any pigment available, and PB 36 - Cobalt Chromate almost no company carries as many examples Blue-Green Spinel as we do. These include three beautifully j Semi-Opaque Very Fine translucent often used in glazes and Lightfastness: I - Excellent delicate tints – Cobalt Yellow along with Cobalt Similar to our regular Cerulean but made with Violet Light and Deep. These are joined by less tin. Therefore, it’s slightly greener and multiple shades of Cobalt Teal, Turquoise and deeper. Cobalt Green, a bright and pristine Cobalt Blue along with its redder cousin, Cobalt Blue Deep, Cobalt Teal Greenish and finally both a traditional Cerulean Blue #6000786 (Genuine) and a deeper Cerulean Blue French, PG 50 - Oxides of Nickel, to make a total of 12 Cobalt colors in all. Cobalt & Titanium h Opaque Very Fine Cobalt Yellow Lightfastness: I - Excellent #6000508 A very, very strong color. This is not a mix or PY 40 - Cobalt Potassium Nitrate tint, but the absolutely most intense turquoise i Transparent Fine we have ever seen. A pure cobalt with no Lightfastness: II - Good . It is very exotic, almost Caribbean A spectrum transparent yellow. or Moroccan in feeling. Clear, limpid, exquisite. Like the yellow in some of Turner’s skies. Cobalt Teal Bluish Cobalt Green #6000817 #6001250 PB 28 - Oxides of Cobalt PG 26 - Cobalt Chromite Green and Aluminum Spinel h Opaque Very Fine h Opaque Very Fine Lightfastness: I - Excellent Lightfastness: N/A Another very strong and beautiful, pure cobalt. A dark valued opaque blue green. Cobalt Green Not a mixer or tinter. Straight ahead color. Just and its accompanying tint are reminiscent of a as bright and rich as our other Cobalt Teal, but pine forest of silvery needles. more bluish in tone. Williamsburg Cadmium Oil Colors Cobalt Turquoise Greenish One of the widest ranges available anywhere, #6000887 with 12 pure shades running from a bright, PB 36 - Oxides of Cobalt, almost electric Cadmium Yellow to a & Aluminum very deep and rich Cadmium . We fill out h Opaque Very Fine Lightfastness: I - Excellent this range with two Cadmium made Similar in to our regular turquoise, from a traditional blend of Cadmium Yellow but does not reflect the light back. It absorbs and Green. We use only the highest, light like velvet and has a mysterious surface. purest grades of to create colors of exceptional density and tinting Cobalt Turquoise Bluish strength while still maintaining a smooth, #6000907 buttery feel. These colors can hold their own PB 36 - Oxides of Cobalt, against any Cadmium on the market. Chromium & Aluminum h Opaque Very Fine Cadmium Lemon Lightfastness: I - Excellent #6000246 A very, very rich velvety color with a deep PY 35 - C.P. Cadmium surface. Slightly darker, greener than Cerulean. h Opaque Fine Lightfastness: I - Excellent Cobalt Blue Very high-pitched, slightly acidic and greenish. #6000927 Electric. PB 28 - Oxides of Cobalt and Aluminum Cadmium Yellow Light j Semi-Opaque Very Fine #6000286 Lightfastness: I - Excellent PY 35 - C.P. Cadmium Zinc Sulfide Ground with the maximum amount of the h Opaque Fine pigment to give this normally translucent color Lightfastness: I - Excellent more covering strength. A true spectrum blue, Beautifully clear and strong. Our light highly saturated, with no green or red bias. is very light. Cobalt Blue Deep Cadmium Yellow Medium #6000937 #6000366 PB 28 - Oxides of Cobalt PY 35 - C.P. Cadmium Zinc Sulfide and Aluminum h Opaque Fine j Semi-Opaque Very Fine Lightfastness: I - Excellent Lightfastness: I - Excellent The most popular yellow we sell. This color is richer, deeper, more translucent Strong and warm. and ever so slightly more purple than our regular Cobalt Blue. Like willow-ware china. Cadmium Yellow Deep blue or orange. With cadmiums this is a difficult #6000406 balance to maintain. PY 35 - C.P. Cadmium Zinc Sulfide h Opaque Fine Cadmium Red Deep Lightfastness: I - Excellent #6000647 Just hinting at a yellowish orange. Very warm; PR 108 - C.P. Cadmium extraordinarily luminous. Sulfo-Selenide h Opaque Fine Cadmium Yellow Extra Deep Lightfastness: I - Excellent #6000416 Slightly bluish. A true “cherry” red. PY 35 - C.P. Cadmium Zinc Sulfide Some might consider this a medium red. h Opaque Fine Lightfastness: I - Excellent Cadmium Red Purple An essential addition to our range of bright, #6000657 warm colors. PR 108 - C.P. Cadmium Sulfo-Selenide Cadmium Orange h Opaque Fine #6000546 Lightfastness: I - Excellent PO 20 - C.P. Cadmium A red so deep and bluish that it’s called purple. Sulfo-Selenide Very heavy, with extreme covering power. h Opaque Fine Lightfastness: I - Excellent Cadmium Purple Consider this a perfect true orange. #6000658 PR 108 - C.P. Cadmium Cadmium Red Light Sulfo-Selenide #6000587 h Opaque Fine PR 108 - C.P. Cadmium Lightfastness: I - Excellent Sulfo-Selenide A masstone like an opaque bing cherry. Its h Opaque Fine color exhibits an opaque richness that is Lightfastness: I - Excellent unapologetic and determined while its tint Intense . Some might call this a shows its inorganic nature in the form of a Cadmium Orange-Red. dusty . Cadmium Red Cadmium Green Light #6000597 #6001146 PR 108 - C.P. Cadmium PY 35 - C.P. Cadmium Zinc Sulfo-Selenide Sulfide, PG 18 - Anhydrous h Opaque Fine Chromium Sesquioxide Lightfastness: I - Excellent h Opaque Fine Does not contain mercuric sulfide - instead this Lightfastness: I - Excellent Cadmium has the intensity and sweetness of A paler, yellow Cadmium Green. Genuine Vermilion. It lies between our Cadmium Red and Cadmium Red Light. Cadmium Green #6001186 Cadmium Red Medium PY 35 - C.P. Cadmium Zinc #6000607 Sulfide, PG 18 - Anhydrous PR 108 - C.P. Cadmium Chromium Sesquioxide Sulfo-Selenide h Opaque Fine h Opaque Fine Lightfastness: I - Excellent Lightfastness: I - Excellent A beautiful, soft, medium green. “Sits” well on A true medium. Not heading too much into the canvas without popping. Not electric. Permanent Yellow Medium Williamsburg Modern Oil Colors #6000383 Along with its deep roots in a more traditional PY74 - 5GX, oil paint palette, Williamsburg has always PY65 - Arylide Yellow RN been committed to the best of the modern j Semi-Opaque Very Fine organic pigments and as a group they form Lightfastness: I - Excellent a full spectral range. Crisp and bright, with Similar to used for school buses and the ability to produce incredibly strong and taxis. Excellent lightfastness. clean tints, these colors form the backbone for painters looking to supplement their traditional Permanent Yellow Deep colors with higher chroma alternatives, and #6000423 for contemporary painters looking to explore a PY 65 - Arylide Yellow RN modern palette. j Semi-Opaque Very Fine Lightfastness: I - Excellent One of the pigments used for traffic markings Nickel Yellow and other outdoor surfaces needing excellent #6000224 colorfastness. PY 53 - Nickel Titanate h Opaque Very Fine Permanent Orange Lightfastness: I - Excellent #6000542 Non-acidic, sweet, buttery, lemon yellow. PY154 - Benzimidazolone Yellow H3G, PR112 - Naphthol AS-D Bismuth Vanadate Yellow j Semi-Opaque Very Fine #6001929 Lightfastness: ll - Good PY 184 - Bismuth Vanadate Less opaque than our Cadmium Orange. Very h Opaque Very Fine rich, almost wet looking - sort of like an orange Lightfastness: N/A candy Life Saver®. Considered permanent when The absolute brightest cool yellow, other yellows used full strength and durable in thin glazes. seem dull by comparison. Expands your range and reach in greens and other mixtures. Opacity Permanent Red-Orange similar to cads with excellent lightfastness. #6000563 PO 36 - Diketopyrrole-pyrrole Permanent Lemon j Semi-Opaque Very Fine #6000263 Lightfastness: I - Excellent* PY3 - Arylide Yellow 10G, PW6 Strong, somewhat sour, tomato-like red orange. - Titanium Dioxide Rutile, PG18 - Hydrous Chromium Sesquioxide Pyrrole Orange j Semi-Opaque Very Fine #6001927 Lightfastness: I - Excellent PO 73 - Diketopyrrole-pyrrole Very tart, greenish, acidic, brilliant yellow. j Semi-Opaque Very Fine Lightfastness: I - Excellent* Permanent Yellow Light Very lightfast and vivid orange. Falls between #6000303 Cadmium Orange and Cadmium Red Light, but PY 3 - Arylide Yellow 10G contains no heavy metals. j Semi-Opaque Very Fine Lightfastness: II - Good Pyrrole Red Glows with the brightness of a . A #6001925 strong vibrant yellow. PR 254 - Diketopyrrole-pyrrole j Semi-Opaque Very Fine Lightfastness: N/A Classic ruby or cherry red, similar to Cad Red Permanent Medium, but cleaner, more saturated in tints #6000687 and blends. A more opaque and lightfast PR 177 - Anthraquinone alternative to Naphthol-based permanent . i Transparent Very Fine Lightfastness: I - Excellent Fanchon Red An absolutely permanent, lightfast substitute #6000624 for Alizarin Crimson. Not at all electric or PR 112 - Naphthol AS-D synthetic looking - more down to earth than j Semi-Opaque Fine quinacridones. Exquisitely clean in mixing. Lightfastness: II - Good This is a very beautiful high-keyed red - different Perylene Crimson from Cadmium Red in that it leans toward #6000686 warm, glowing when added to . This PR 179 – Anthraquinone Perylene is a very useful bright red for mixing. It stays i Transparent Fine cleaner and clearer than most other reds in Lightfastness: I - Excellent mixes. Warmer than Quinacridone Red. A permanent, deep rich crimson with cool overtones and warm, yellowish undertones. Quinacridone Red Warmer than our Permanent Crimson. #6000665 PV 19 - Quinacridone Quinacridone Violet i Transparent Very Fine #6000785 Lightfastness: I - Excellent PV 19 - Quinacridone Many companies use the term “rose” for this i Transparent Very Fine pigment, which means that they are thinning out Lightfastness: I - Excellent an intense ruby-like red. Ours is full strength. A An intense, exotic, blue relative of Quinacridone superb mixing color. The cleanest pinks, flesh Red. Hot, hot , like a lurid peony. Great tones, and violets can be made with it. clarity in mixing and glazing. Quinacridone Magenta Eqyptian Violet #6000775 #6000805 PR 122 - Quinacridone PV 23 - Carbazole Dioxazine i Transparent Very Fine k Semi-Transparent Very Fine Lightfastness: I - Excellent Lightfastness: I - Excellent A quinacridone that fits perfectly between our Intense, royal violet. Very deep, very strong red and violet shades. A true, ultra rich magenta tinting (like Phthalo). An unusually rare color. that stops just short of becoming violet Like . Prismatic in its clarity with a warm inner glow. Indanthrone Blue Carl’s Crimson (Permanent) #6000985 #6000685 PB 60 - Indanthrone Blue PR 187 - Naphthol AS k Semi-Transparent Fine i Transparent Very Fine Lightfastness: I - Excellent Lightfastness: Excellent* A very dark, semi-transparent color, sometimes Carl Plansky’s personal favorite when wanting referred to as Anthraquinone Blue. With a a rich, permanent crimson. A touch warmer Lighfastness rating of I, it makes a good and slightly less translucent than our standard alternative to the fade prone natural , Permanent Crimson. which it was originally meant to replace. Indanthrone is a strong mixing color. Phthalo Blue Green #6001004 #6000518 PB 15:3 - Phthalocyanine PY 129 - 5G Copper Complex of i Transparent Very Fine Azomethine Lightfastness: I - Excellent k Semi-Transparent Very Fine Outrageously strong. Very versatile in mixing. Lightfastness: I - Excellent Equally effective in mixing greens or violets. Very The color is that of a picholine , a dark clean and transparent when used for washes yellow-green color, less pale than most olives. and glazing. The beauty of Green Gold is in its undertone and tint. At first the undertone appears as a Permanent Green Light very transparent virgin olive oil color but then it #6001163 imparts a stunning glow from within. PY 3 - Arylide Yellow 10G PG 7 - Chlorinated Copper Williamsburg Transparent/Glazing Phthalocyanine Oil Colors j Semi-Opaque Very Fine Oil painting is often prized for the rich Lightfastness: II - Good luminosity it achieves through glazing. Very bright, almost electric. Williamsburg offers an extremely broad array of choices in this area. These include a range Permanent Green of transparent earths, such as Transparent #6001263 Yellow Oxide and Transparent Red Iron PY 3 - Arylide Yellow 10G, Oxide. One can find such staples as Sap PG 7 - Chlorinated Copper Green, Alizarin Crimson, and , Phthalocyanine alongside more unusual notes of Ultramarine j Semi-Opaque Very Fine Pink, Quinacridone Gold, and Perylene Lightfastness: II - Good Slightly less bluish than other makes of Crimson. Rounding out the selection are an permanent and very intense. assortment of modern organic pigments. Phthalo Green-Yellowish Indian Yellow #6001264 #6000524 PG 36 - Brominated PY 83 - Diarylide Yellow & Chlorinated Copper i Transparent Fine Phthalocyanine Lightfastness: Fair* i Transparent Very Fine Transparent golden yellow. When used thickly it Lightfastness: I - Excellent has an orange color like pumpkin custard. Very warm and clear. Does not go into the cooler, blue shades but mixes beautifully with Alizarin Crimson warm yellow. Not as electric as the bluer shade. #6000684 PR 83 - 1, 2 Dihydroxy Phthalo Green Anthraquinone #6001284 i Transparent Medium PG 7 - Chlorinated Copper Lightfastness: III - Fair Phthalocyanine Easily the strongest Alizarin you can find. i Transparent Very Fine Incredibly beautiful, this shade is versatile Lightfastness: I - Excellent because it can go sweet (pink) or sour (orange) Extremely strong. A deep, rich green. Good for very easily, depending on how it’s used. mixing. Great for transparency in washes. Ultramarine Pink requirements. Beautifully transparent, rich, #6000774 deep, with a hint of red in the undertone. PV 15 - Polysulfide of Sodium Alumino-Silicate Prussian Blue i Transparent Very Fine #6000982 Lightfastness: I - Excellent PB 27 - Ferriammonium A beautiful transparent, limpid pink. Like all Ferrocyanide ultramarines this leans toward blue - but not k Semi-Transparent Very Fine enough to be violet. Close in feel to original Lightfastness: I - Excellent Rose Madder, but more delicate. Imagine a rich So deep it seems darker than . Interesting rose quality with a slight blush of pale amethyst. bronzing effect on surfaces. Manganese Violet Phthalo Turquoise #6000704 #6001024 PV 16 - Manganese Ammonium PB 15:3 - Copper Phthalocyanine Pyrophosphate PG 7 - Chlorinated Copper k Semi-Transparent Very Fine Phthalocyanine Lightfastness: I - Excellent i Transparent Very Fine A substantial, rather heavy, earth loud violet - Lightfastness: I - Excellent not subtle like the ethereal, limpid cobalts. Extremely strong. Very deep. Exotically rich. Ultramarine Violet Sap Green #6000764 #6001303 PV 15 - Polysulfide of Sodium PY42 - Synthetic Hydrated Iron Alumino-Silicate Oxide, PY129 - Azomethine i Transparent Very Fine Copper Complex, PG7 - Lightfastness: I - Excellent Chlorinated Copper Phthalocyanine Beautiful, natural-looking violet. Doesn’t look k Semi-Transparent Medium synthetic in any way. Its only limitation is that Lightfastness: I - Excellent it is an extremely weak tinter. Its beauty is in Absolutely permanent but slightly cooler in tint. glazes. Not as yellowish as some others. Ultramarine Blue Transparent Yellow #6000942 PB 29 - Polysulfide of Sodium #6001920 Alumino-Silicate PY42 - Synthetic Hydrated Iron i Transparent Very Fine Oxide Lightfastness: I - Excellent i Transparent Very Fine Beautiful, rich, clean and transparent. Lightfastness: I - Excellent A silky smooth alternative to Stil de Grain. Ultramarine Blue French Warm, surprisingly deep walnut color. Glazes #6000962 and tints to earthy, luminous yellows, or PB 29 - Polysulfide of Sodium polished brass. A cleaner, brighter yellow oxide. Alumino Silicate, PV 15 - Polysulfide of Sodium Alumino- Transparent Red Iron Oxide Silicate #6001922 i Transparent Very Fine PR101 - Synthetic Iron Oxide Lightfastness: I - Excellent i Transparent Very Fine After testing dozens of samples from around Lightfastness: I - Excellent the world we finally found one that fits our Milled smooth and velvety, this synthetic iron One of those mysterious colors that could feel oxide mixes beautifully with Ultramarine Blue to like pale, warm , or in the right light, have make everything from neutrals to flesh tones. a rosy, pink glow. Brighter, cleaner than natural iron oxides. Alizarin Yellow Quinacridone Gold Brown #6000514 #6000874 PY 42 - Synthetic Hydrated Iron PO48 - Quinacridone Oxide, PY 83 - Diarylide Yellow PR206 - Quinacridone k Semi-Transparent Medium i Transparent Medium Lightfastness: Fair* Lightfastness: Excellent* A clean, transparent yellow but not as orange Really shows its beauty and versatility in mixing as Indian Yellow. Though we call it Alizarin, it and glazing. A deep rich brownish gold like a -contains no Alizarin Lake. A slight earthy feel. deep smoky topaz. Alizarin Orange Williamsburg Specialty Blends #6000534 Over the years various specialty mixtures were PR 177 - Anthraquinone developed. The inspiration behind these often PY 83 - Diarylide Yellow i Transparent Very Fine came from Plansky’s own experience in the Lightfastness: Fair* studio or from such varied sources as a gown Transparent, clear, and rich. Beautiful as a worn by opera singer Montserrat Caballé, the golden glazing color. Very warm, almost sultry in brilliant blue of Sèvres Porcelain, or the bright its color saturation. notes gathered from a bouquet of dianthus pinks. Others include translucent Alizarin Persian Rose Orange, with its almost sultry masstone of #6000713 dark that breaks into hotter notes of PW6 - Titanium Dioxide Rutile, bright yellow when scraped or glazed across PR112 - Naphthol AS-D, a surface, or the rich cool red of our Persian PY154 - Benzimidazolone Yellow Rose. H3G, PV19 - Quinacridone h Opaque Very Fine Canton Rose Lightfastness: ll - Good #6000744 A rich, intense color with extremely good PW 6 - Titanium Dioxide Rutile, covering power. Like an old world rose with a PR 112 - Naphthol AS-D, slight cool, bluish glow, but with a heart PR 101 - Synthetic Iron Oxide, of orange. PY 42 - Synthetic Hydrated Iron Oxide h Opaque Fine Dianthus Pink Lightfastness: II - Good #6000724 Many companies call this “Flesh Tint”. We don’t PW 6 - Titanium Dioxide Rutile care for this term and are reminded of some of PV 19 - Quinacridone the rose-colored enamels in Canton-Ware. h Opaque Very Fine Lightfastness: I - Excellent Montserrat Orange A true, clear pink with absolutely no yellow or #6000583 orange. Inspired by Rembrandt’s “Lady With a PW6 - Titanium Dioxide Rutile, Pink”. Our energetic manager likens it to the PO36 - Benzimidazolone, PY154 Pink Panther. Mixes cleanly. Does not muddy up. - Benzimidazolone Yellow H3G, PV19 - Quinacridone h Opaque Very Fine Lightfastness: I - Excellent Violet Reddish Intensely rich with great luster. Because of the #6000734 way we mill the pigment, it’s not a flat, PW 6 - Titanium Dioxide Rutile, like aqua. PV 19 - Quinacridone h Opaque Very Fine Courbet Green Lightfastness: I - Excellent #6001323 Redder than Manganese Violet. Very close to PR 102 - Calcined Natural Cobalt Violet Light but extremely opaque with Iron Oxide, PB 27 - Sodium good covering power. Ammonium Ferroferricyanide, PY 65 - Arylide Yellow RN Provence Violet Bluish j Semi-Opaque Very Fine #6000754 Lightfastness: I - Excellent PW 6 – Titanium Dioxide Rutile, A deep bluish yet earthy green similar to Indigo PV 23 Carbazole Dioxazine but green instead of blue. Very sensitive in h Opaque Very Fine mixing. A small amount of yellow throws this Lightfastness: II - Good color into an entirely different key. Very close to Cobalt Violet Deep, but so luminous that it’s almost electric. Olive Green Strong and beautiful. #6000322 PY129 - Azomethine Copper King’s Blue Complex, PY42 - Synthetic #6000813 Hydrated Iron Oxide, PG36 - PW 6 - Titanium Dioxide Rutile, Brominated and Chlorinated Copper PB 29 - Polysulfide of Sodium- Phthalocyanine Alumino-Silicate, PB 15:3 - k Semi-Transparent Coarse Copper Phthalocyanine Lightfastness: I - Excellent h Opaque Very Fine Much warmer and brighter than our Sap Green. Lightfastness: I - Excellent What is now known as royal blue is associated with Cobalt Blue. This French Royal Blue is Williamsburg Greens Williamsburg offers an extensive range of 16 lighter. Like the of a fleur-de-lis. Clear, bright. greens, from permanent modern pigments with their high tint strength and beautiful Sevres Blue transparencies, through many unique blends #6000823 as well as prized earths from different parts PW 6 - Titanium Dioxide Rutile, PB 15:3 - Copper Phthalocyanine of the world. Cinnabar Green Light is a vivid yellow-green with a brightness not found h Opaque Very Fine Lightfastness: I - Excellent in most brands, while our Veronese Green Brilliant, warm, sky blue. Crisper and brighter provides a luminous, modern take on the than Cerulean. Named after the famous blue prized but poisonous Emerald Green of the enamel on Sèvres porcelain. 19th century; warmer and more opaque then Phthalo Green. Rounding out the group are two Turquoise anchors of the traditional palette, Chromium #6000863 Oxide and Viridian. PW 6 - Titanium White, PG 7 - Chlorinated Copper Veronese Green Phthalocyanine, PB 15:3 - Copper #6001103 Phthalocyanine, PW 6 - Titanium Dioxide Rutile, h Opaque Very Fine PY 3 - Arylide Yellow 10G, Lightfastness: I - Excellent PG 7 - Chlorinated Copper Phthalocyanine Williamsburg Native Italian h Opaque Very Fine Lightfastness: II - Good Earth Oil Colors A bright, warm green. Some companies call this One of the crown jewels of the Williamsburg Emerald Green or Baryte Green. line, these colors completely redefine the experience of earth colors, which are typically Cinnabar Green Light seen as and unexciting. These particular #6001153 pigments are rare and come from the same PY 3 - Arylide Yellow 10G, PW regions in Italy made famous by the 6 - Titanium Dioxide Rutile, PB 29 great Sienese and Florentine masters. Prized - Polysulfide of Sodium-Alumino- for their authenticity, they have been used by Silicate, PB 15:3 – Copper Phthalocyanine many conservators and restorers and sought j Semi-Opaque Very Fine after by both traditional painters looking to Lightfastness: II - Good connect to the traditions of the past, as well A very high-keyed, light-yellowish green. Strong as contemporary painters looking for a more and powerful but does not become fluorescent. expressive, physical presence in their palette. We take great care not to over-mill these, Viridian instead allowing the presence of the pigment #6001245 to be felt and preserving the larger crystalline PG 18 - Hydrous Chromium facets of the minerals, which ultimately allows Sesquioxide for a stunning interplay of rich masstones k Semi-Transparent Fine playing off brilliant undertones. Lightfastness: I - Excellent What the French call Vert Émeraude. Italian Terra Verte A beautiful, translucent, slightly milky, #6000013 velvety green. PG 23 - Natural Ferrous Silicate containing Magnesium and Chromium Oxide Green Aluminum Potassium Silicates #6001223 i Transparent Medium PG 17 - Anhydrous Chromium Lightfastness: I - Excellent Sesquioxide The true Brentonica earth. Semi-transparent, h Opaque Very Fine slightly gritty, with a velvet-like, soft, light- Lightfastness: I - Excellent absorbing surface. A delicate green. Not an Very high covering strength. An earthy but very opaque olive. clean, warm green. Italian Lemon Earth Green #6000014 #6001122 PY 43 - Natural Hydrated PY 42 - Synthetic Hydrated Iron Iron Oxide Oxide, PG 7 - Chlorinated Copper j Semi-Opaque Medium Phthalocyanine Lightfastness: I - Excellent j Semi-Opaque Medium A light clear bright yellow. Almost too luminous Lightfastness: I - Excellent to call ochre. It glows like the Italian light. Not to be confused with traditional Terre Verte. More earthy. Falls between our Bohemian Green Italian Yellow Ochre Earth and Olive Green. #6000015 PY 43 - Natural Hydrated Iron Oxide j Semi-Opaque Medium Lightfastness: I - Excellent Rich, clean, and brilliant. One is reminded of Sassetta’s landscapes or Renaissance Italian Terra Rosa illuminated manuscripts. #6000021 PR 102 - Calcined Natural Iron Italian Orange Ochre Oxide #6000016 j Semi-Opaque Medium PBr 7 - Calcined Natural Iron Lightfastness: I - Excellent Oxide, PY 43 - Natural Hydrated Similar to Pozzuoli Earth, but stronger and Iron Oxide earthier. The orange undertone becomes quite j Semi-Opaque Medium pronounced. Lightfastness: I - Excellent A very beautiful deep ochre. The depth is Italian Black Roman Earth evident in the reddish undertones as opposed #6000022 to a brownish quality. PBr 7 - Calcined Natural Iron Oxide containing Manganese Italian Green Ochre PBk 6 - Nearly Pure #6000017 Amorphous Carbon PBr 7 - Calcined Natural Iron j Semi-Opaque Medium Oxide, PY 43 - Natural Hydrated Lightfastness: I - Excellent Iron Oxide A semi-transparent blackish earth that acts like j Semi-Opaque Medium Cassel Earth though cooler and blacker. It is the Lightfastness: I - Excellent blackest natural earth we’ve seen. Wonderful for A wonderful color like fresh rattan or tobacco. mixing and perfect for glazing. Not like Terra Verte, but a musky, greenish gold. Italian Burnt Italian Pompeii Red #6000023 #6000018 PBr 7 - Calcined Natural Iron PR 102 - Calcined Natural Oxide Iron Oxide j Semi-Opaque Medium j Semi-Opaque Medium Lightfastness: I - Excellent Lightfastness: I - Excellent Higher pitched and somewhat brighter than our The true, intense, brilliant red of ancient Italian other Burnt Sienna - slightly warmer. frescoes. Hot, glowing, and luminous. Italian Raw Sienna Italian Rosso Veneto #6000024 #6000019 PY 43 - Natural Hydrated Iron PR 102 - Calcined Natural Iron Oxide Oxide j Semi-Opaque Medium j Semi-Opaque Medium Lightfastness: I - Excellent Lightfastness: I - Excellent This is the beautiful semi-transparent golden Mined in the Veneto region, a true Venetian Italian Earth used by the Renaissance masters. red with no orange undertones. A clean, cool, The slight gritty quality allows for exquisite pinkish quality. undertones. Italian Pozzuoli Earth Italian Raw Umber #6000020 #6000025 PR 102 - Calcined Natural Iron PBr 7 - Natural Iron Oxide Oxide containing Manganese j Semi-Opaque Medium j Semi-Opaque Medium Lightfastness: I - Excellent Lightfastness: I - Excellent Warmer than Rosso Veneto with orange under- After testing many pigments from all over the tones - earthy and rich. Favored by Uccello. world we found this pigment from our source in Italy. If ever there was a “perfect” raw umber slightly more gold/green characteristic. Its tint is - this is it. pale but warm and exhibits much of the same gold-yellow quality found in the masstone. Williamsburg French Earth Oil Colors Expanding upon our Native Italian Earth colors, French Ochre Havane Williamsburg is delighted to offer thirteen #6000042 French Earth Colors providing even more depth PY 43 - Natural Hydrated Iron to our offerings of natural earths coming from Oxide, PR 102 - Natural Red Iron regions with historical importance, especially Oxide in terms of European art history. They appeal j Semi-Opaque Medium to painters seeking a broader palette of Lightfastness: I - Excellent historical materials as well as painters who The semi-transparent nature of French Ochre appreciate that natural earths provide a type Havane provides it with greater depth, giving it of texture and physical presence, a subtlety of permission to be a glaze when it wants to be color caused by the unique mix of impurities and acting like a matte ochre otherwise. each mining region possesses - something synthetic iron oxides simply cannot provide. French Rouge Indien #6000043 French Terre Verte PR 102 - Natural Red Iron Oxide #6000052 j Semi-Opaque Medium PG 23 - Natural Ferrous Silicate Lightfastness: I - Excellent containing Magnesium and The rarity of a natural makes it Aluminum Potassium Silicates unique in comparison to synthetic counterparts i Transparent Medium made elsewhere. It has a satin sheen with a Lightfastness: I - Excellent fine to medium grind and is very opaque. Its A cooler, bluer version of the Italian Terra Verte. tint falls in the middle in strength, as a dusty It lends itself to a landscape palette but more orange pink but not dull or dirty. importantly, due to its transparent nature is very useful in imparting subtle tones to a portrait French Brown Ochre palette. #6000044 PY 43 - Natural Hydrated Iron French Yellow Ochre Deep Oxide #6000040 j Semi-Opaque Medium PY 43 - Natural Hydrated Iron Lightfastness: I - Excellent Oxide A warm brown somewhere in between milk j Semi-Opaque Medium and dark chocolate. Its tint is a Lightfastness: I - Excellent mushroom color and like the other , It seems to be trying to disguise itself as Raw mixes well without overpowering. Sienna by putting on a more orange hue. Its color is like caramel while its tint is . Not French Burnt Ochre a strong staining color. Tints lightly but cleanly. #6000046 PBr 7 - Calcined Natural Iron French Raw Sienna Oxide #6000041 j Semi-Opaque Medium PY 43 - Natural Hydrated Iron Lightfastness: I - Excellent Oxide The color of dark chocolate and unlike the other j Semi-Opaque Medium ochres, has an extremely dry matte finish. It Lightfastness: I - Excellent is difficult to not touch the dried paint, as its A deeper and richer tone than our regular Raw surface beckons fingers. Sienna and in masstone is similar to Italian Raw Sienna but with a slightly less warm and French Burnt Umber j Semi-Opaque Medium #6000045 Lightfastness: N/A PBr 7 - Calcined Natural Iron The texture and sheen is both dry and tar-like at Oxide containing Manganese the same time. Cassel Earth is a naturally slow j Semi-Opaque Medium drier and tints to a warm and subtle gray. It is Lightfastness: I - Excellent not a strong mixer but does impart a warm glow A slightly darker, warmer and less matte version when used in place of black. Only moderate of our regular Burnt Umber. It mixes well and in lightfastness, we recommend a final, UV like its masstone, imparts a warmer/redder protective varnish for maximum durability. tone than the regular Burnt Umber. French Noir Indien French Light Sienna #6000049 #6000051 PBlk 11 - Natural Black Iron Oxide PY 43 - Natural Hydrated Iron j Semi-Opaque Medium Oxide Lightfastness: I - Excellent j Semi-Opaque Medium A natural black iron oxide, it is a very opaque Lightfastness: I - Excellent black paint with a warm quality to it. In It fits nicely in between the earthy greens and comparison to our other it has a slightly the warmer earth colors that have a greenish more satiny sheen and grittier texture. Its tint although it is a far departure from the colors masstone as well as its tint is holding back most similar to it. Its burnt olive color is straight a violet streak that keeps whispering from its out of the garment racks of a second hand surface but never fully declares itself. army navy surplus store and its tint is the color of cool sand untouched by the light of the sun. Williamsburg Earth Colors Williamsburg has an extremely wide and varied French Ardoise #6000050 assortment of Earth Colors. We mill each PBlk 19 - Powdered Slate pigment to its own standard, developing the i Transparent Medium color until it achieves its richest expression. Lightfastness: N/A Some, like our Spanish Earth, Red Ochre, and A beautifully transparent pigment; its tint is Mars colors, have a dense, velvety feel extremely light and manages to give the white with extremely high tinting strength and just a slightly cooler and greener tone. covering power. Raw and Burnt Siennas are more translucent French Raw Umber with exceptional luminosity in washes and #6000047 glazes. Our and Ochres span the PBr 7 - Natural Iron Oxide gamut from the traditional core offerings to less containing Manganese common variations such as our Brown and Red j Semi-Opaque Medium Umbers, Brown Ochre, and Yellow Ochre Burnt. Lightfastness: I - Excellent Earth Colors to note include Bohemian Green The French version has a green tone to it that Earth, a cooler and denser version of the Terra gives a little kick to its color. Its color is that of Verte found in our Native Italian Earth Colors, discarded tea leaves, mostly brown but once as well as a few select blends, such as Cyprus green. Moderate in mixing strength, it produces Orange, with its clear, warm undertones. a subtle tint much like the color of parchment. Bohemian Green Earth French Cassel Earth #6001021 #6000048 PR 101 - Synthetic Red Iron NBr 8 - Bituminous Earth, PBr Oxide, PY 42 - Synthetic Hydrated 7 - Natural Iron Oxide containing Iron Oxides, PBk 11 - Synthetic Manganes e Black Iron Oxide, PW 6 - Titanium Dioxide Rutile h Opaque Medium chemistry but with a beautiful, transparent, Lightfastness: I - Excellent color. Its beauty is best seen when Cooler than our Italian Terra Verte, and also used transparently. Absolutely permanent. stronger in tinting and covering strength. Like a rich forest moss. Italian Pink #6001474 Yellow Ochre (Domestic) PY 42 - Synthetic Hydrated Iron #6001401 Oxide PY 43 - Natural Hydrated Iron PR 101 - Synthetic Iron Oxide Oxide k Semi-Transparent Coarse j Semi-Opaque Fine Lightfastness: I - Excellent Lightfastness: I - Excellent A transparent reddish brown with warm A naturally occurring yellow ochre from Georgia. undertones. Close to a transparent oxide red. Stronger tinting than the Italian Yellow Ochre and in hue somewhere between the Italian and Burnt Sienna the Lemon Ochre. #6001521 PR 102 - Calcined Natural Iron Raw Sienna Oxide #6001501 j Semi-Opaque Fine PY 43 - Natural Hydrated Iron Oxide Lightfastness: I - Excellent j Semi-Opaque Fine Rich, warm, mahogany undertone. Luminous Lightfastness: I - Excellent and cherry-reddish in washes and glazing. A beautiful, transparent, golden undertone, very Relatively strong. luminous in washes and glazing. Relatively strong. Yellow Ochre Burnt #6001541 Cyprus Orange PY 42 - Synthetic Hydrated #6001512 Iron Oxide, PR 102 - Calcined PY 42 - Synthetic Hydrated Iron Natural Iron Oxide, PY 43 - Oxide, PO 73 - Diketopyrrole- Natural Hydrated Iron Oxide pyrrole h Opaque Fine j Semi-Opaque Medium Lightfastness: I - Excellent Lightfastness: Excellent* Warm, mellow, walnut brown. Not unlike Raw Sienna, but with surprisingly clear, transparent, orange undertones. Brown Ochre #6001561 Stil De Grain PY 42 - Synthetic Hydrated Iron #6001464 Oxide, PR 101 - Synthetic Iron PY 42 - Synthetic Hydrated Iron Oxide Oxide h Opaque Medium k Semi-Transparent Coarse Lightfastness: I - Excellent Lightfastness: I - Excellent Very earthy, extra-deep yellow ochre - so deep The Dutch made this with roots. A warm, we call it brown. transparent gold. Perfect in glazing. Nickel Azo Yellow Brown Pink #6001928 #6001484 PY 150 - Nickel Complex Azo PR 101 - Synthetic Iron Oxide i Transparent Very Fine k Semi-Transparent Coarse Lightfastness: I - Excellent Lightfastness: I - Excellent The unique color surprises you with Historically similar to Stil De Grain in origin and stunning gold undertones, and bright primrose yellow in the tints. Cooler than other transparent Mars Red Light yellows. #6001402 PR 101 - Synthetic Iron Oxide Red Ochre h Opaque Very Fine #6001581 Lightfastness: I - Excellent PR 102 - Natural Red Iron Oxide Looks like old brick in direct sunlight. h Opaque Fine Sometimes it seems warm and rich - other Lightfastness: I - Excellent times a dusty pink. Also known as English Red. Extremely dense, very strong covering power. Earthier than the Mars colors. Mars Red #6001422 Spanish Earth PR 101 - Synthetic Iron Oxide #6001601 h Opaque Very Fine PR 102 - Natural Red Iron Oxide Lightfastness: I - Excellent h Opaque Very Fine A beautiful, medium red - not too blue or too Lightfastness: I - Excellent yellow. Like rich, warm, cordovan leather. Also A dense earthy ochre - more violet than the red called . ochre - with an interesting liverish quality. Mars Violet Mars Yellow Light #6001442 #6001342 PR 101 - Synthetic Iron Oxide PY 42 - Synthetic Hydrated h Opaque Very Fine Iron Oxide Lightfastness: I - Excellent h Opaque Very Fine Rich, chocolate-like, deep and purplish. Often Lightfastness: I - Excellent called or Indian Red. Like highlights on polished brass - very luminous and bright. Often called Dutch Brown (Transparent) Yellow Ochre Pale. #6001494 PR 101 - Synthetic Iron Oxide Mars Yellow Deep k Semi-Transparent Coarse #6001362 Lightfastness: I - Excellent PR 101 - Synthetic Iron Oxide, Very close to Cassel Earth - but absolutely PY 42 - Synthetic Hydrated Iron permanent. In mixing if you find umbers to be Oxide too “smoky or atmospheric”, you will find this to h Opaque Very Fine be very crisp and rich. We have seen it used to Lightfastness: I - Excellent create viscous, tarry looking surfaces Warmer and slightly redder than the light. as well as very lustrous, sleek rich browns Sometimes called Yellow Ochre or Yellow like fine mink fur. Ochre Deep. Raw Umber Mars Orange #6001621 #6001382 PBr 7 - Calcined Natural Iron PR 101 - Synthetic Iron Oxide, Oxide containing Manganese PY 42 - Synthetic Hydrated Iron j Semi-Opaque Fine Oxide Lightfastness: I - Excellent h Opaque Fine A coolish and very slightly greenish umber. Lightfastness: I - Excellent Mixes with white to an almost neutral grey. Brilliant and mellow like freshly shined copper. The French call this Flesh Ochre. Brown Umber #6001631 Williamsburg Neutral Colors PBr 7 - Calcined Natural Iron As a group, these colors offer the artist a Oxide containing Manganese wide palette for neutrals. Slate Black, Davy’s j Semi-Opaque Fine Gray Deep, and Graphite Grey allow for more Lightfastness: I - Excellent translucent, softer effects, and will not quickly The warmest raw umber we’ve ever seen - not overwhelm mixtures. Italian Black Roman as red or finely ground as Burnt Umber. Earth and German Earth are based on natural, mined earths, which allow them to have Turkey Umber wonderfully subtle undertones and be among #6001641 the faster drying choices among our black PBr 7 - Calcined Natural Iron pigments. We also carry a genuine Van Dyke Oxide containing Manganese, Brown for those looking for a hard-to-find, PG 7 - Chlorinated Copper authentic version of this very traditional color Phthalocyanine with its warmer earthy feel. j Semi-Opaque Fine , Lamp, and Mars Black form the core Lightfastness: I - Excellent of the traditional blacks painters rely on, and Very briny with a pronounced greenish tone. ours are as deep and rich as we can make them. Burnt Umber Cold Black brings a bluish cast to the line- #6001661 up, followed by the yet bluer Payne’s Grey and PBr 7 - Calcined Natural Iron our own variation, a wonderfully reddish warm Oxide containing Manganese version called Payne’s Grey (Violet). j Semi-Opaque Fine Lightfastness: I - Excellent Very warm and velvety. Indigo #6001043 Red Umber PBr 7 - Natural Iron Oxide #6001671 PB 27 - Sodium Ammonium PBr 7 - Calcined Natural Iron Ferroferricyanide Oxide containing Manganese j Semi-Opaque Fine j Semi-Opaque Fine Lightfastness: I - Excellent Lightfastness: I - Excellent Our own mix with no black in it so it can go A Burnt Umber that is so warm it takes on a warm or cool. Very versatile for mixing. Can be true reddish quality. Almost a mid-step between very deep and moody and can tint subtly when Burnt Umber and Burnt Sienna. mixed with white. #6001681 NBr 8 - Bituminous Earth, PBr 7 - Natural Iron Oxide containing Manganese j Semi-Opaque Coarse Lightfastness: Good* Genuine Van Dyke Brown. Mixed with white it gives a neutral grey. Beautiful -like washes. German Earth #6001792 PBk 11 - Natural Black Iron Oxide h Opaque Medium Lightfastness: I - Excellent Ivory Black One of the most versatile blacks we’ve #6001721 encountered. When used straight, it is very PBk 9 - Amorphous Carbon much like a traditional Cassell Earth or Van produced by charring animal Dyke Brown, but when white is added it cools bones down and becomes bluish - almost moonstone- j Semi-Opaque Fine like. Dries with a soft matte surface. Lightfastness: I - Excellent Cool black. Often used as a standard. Graphite Grey Slight grit gives a velvet surface. #6001702 PBk 10 - Graphite Mars Black h Opaque Medium #6001742 Lightfastness: I - Excellent PBk 11 - Synthetic Black Iron Graphite ground in linseed oil. It retains the Oxide slight metallic, iridescent quality of graphite. h Opaque Very Fine Great for wash drawings on prepared paper. Lightfastness: I - Excellent Warmer, creamier, less coarse than Ivory Black. Payne’s Grey (Violet) A distinct warmish glow. #6001063 PBr 7 - Natural Iron Oxide Lamp Black containing Manganese, #6001761 PV 23 - Carbazole Dioxazine, PB PBk 6 - Nearly Pure 29 - Polysulfide of Sodium-Alumino-Silicate Amorphous Carbon j Semi-Opaque Very Fine h Opaque Very Fine Lightfastness: I - Excellent Lightfastness: I - Excellent Beautiful dark shadowy violet. Extremely Very coarse and gritty. Has an interesting sensitive in mixing. Looks like . surface quality. Extremely strong and velvety. Payne’s Grey #6001703 Cold Black PB 29 - Polysulfide of Sodium #6001732 Alumino-Silicate, PBk 9 - PB 29 - Polysulfide of Sodium- Amorphous Carbon produced by Alumino-Silicate, PBk 9 - charring animal bones Amorphous Carbon produced by j Semi-Opaque Fine charring animal bones. Lightfastness: I - Excellent h Opaque Fine A traditional formulation, extremely dark in Lightfastness: I - Excellent masstone. It reveals deep bluish undertones in Actually the name says it all. Has beautiful glazes, or cooler grays when mixed with white. subtle transparent blue undertones. Davy’s Grey Deep #6001701 PBk 19 - Powdered Slate j Semi-Opaque Fine Lightfastness: Excellent* Slightly deeper than the English varieties - our slate pigments come from Pennsylvania. but no less strong. Like the color of bisque. Williamsburg , Off-Whites, and Lighter Valued Neutrals Unbleached Titanium Our whites, off-whites, and lighter valued #6000181 neutrals provide a range of subtleties in this PW 6 - Titanium Dioxide Rutile higher key that is not found in most brands. The h Opaque Very Fine whites are made with the traditionally preferred Lightfastness: I - Excellent linseed oil, which is more durable and faster An intensely opaque, warm, earthy off-white. drying then the common safflower or poppy seed oils found in many other whites. Brilliant Yellow Extra Pale Our Titanium White is a true, single pigment #6000202 white, with no added Zinc, while our Flake PW 6 - Titanium Dioxide Rutile, White is made from pure lead carbonate, long PY 74 - Arylide Yellow 5GX prized for its warmth, durability, and drying PY 65 – Arylide RN properties. Zinc Yellow, Brilliant Yellow Pale, h Opaque Very Fine and Brilliant Yellow Extra Pale provide a range of Lightfastness: I - Excellent yellowish, luminous off-whites useful in mixtures So pale it almost looks like bleached bone or where more warmth is desired, while Zinc Buff sand. High covering power. Extremely luminous. has a more pinkish tone. Unbleached Titanium and Unbleached Brilliant Yellow Pale Titanium Pale have earthy off-white characters #6000212 with the tinting strength and covering power one PW 6 - Titanium Dioxide Rutile, PY expects of a Titanium pigment. 175 - Benzimidazolone Yellow H6G, Rounding out this category is an exquisite PY 74 - Arylide Yellow 5GX group of warmer hues often used in figure and h Opaque Very Fine landscape painting or as luminous, beautiful Lightfastness: I - Excellent colors in their own right. These range from the Similar to our Brilliant Yellow Extra Pale but warm creamy yellow of our Italian, with a stronger yellow resonance. So brilliant it seems to glare. through the slightly deeper, earthier Naples Yellow, and onto the even warmer tones found in Naples Yellow Reddish. Naples Yellow #6000442 PW 6 - Titanium Dioxide Rutile, Titan Buff PY 42 - Synthetic Hydrated Iron #6000160 Oxide, PY 175 - Benzimidazolone PW 6 - Titanium Dioxide Rutile, Yellow H6G, PY 65 - Arylide Yellow RN, PY 42 - Synthetic Hydrated Iron PV 15 - Polysulfide of Sodium-Alumino-Silicate Oxide, PR 101 - Synthetic Iron h Opaque Very Fine Oxide Lightfastness: I - Excellent h Opaque Very Fine Rich, luminous, sweet yellow - not -like. Our Lightfastness: I - Excellent own lead free mix. Good covering power. Pale and porcelain-like. A warm, pinkish off- white. Extremely subtle. Naples Yellow Italian #6000461 Unbleached Titanium Pale PW 6, Titanium Dioxide Rutile, PY #6000191 42 - h Opaque Fine PW 6 - Titanium Dioxide Rutile Lightfastness: Excellent* h Opaque Very Fine A Naples Yellow variation with a very luminous Lightfastness: I - Excellent warm glow - not as earthy as our standard Naples. Cleaner and lighter than Unbleached Titanium Naples Yellow Reddish hiding power of Titanium and the clean tinting #6000422 properties of Zinc. PW 6 - Titanium Dioxide Rutile, PY 42 - Synthetic Hydrated Iron Zinc Oxide is linked to embrittlement Oxide, PY 74 - Arylide Yellow 5GX, and cleaving of oil paint. PO 73 - Diketopyrrole-pyrrole WilliamsburgOils.com/zincinfo h Opaque Very Fine Lightfastness: Excellent* Zinc White A variation with a decidedly rosy, pink hue- #6000141 dissimilar from Jaune Brilliant. Leads into orange. PW 4 - Zinc Oxide j Semi-Opaque Very Fine Jaune Brilliant Lightfastness: I - Excellent #6000463 Cooler, slightly more transparent than Titanium. PW 6 - Titanium Dioxide Rutile, Great for clear, clean mixing. To avoid PY 42 - Synthetic Hydrated Iron brittle films use sparingly. Oxide, PY 74 - Arylide Yellow 5GX, PO 73 - Diketopyrrole-pyrrole Zinc Oxide is linked to embrittlement h Opaque Very Fine and cleaving of oil paint. Lightfastness: Excellent* WilliamsburgOils.com/zincinfo Similar to Naples but brighter, with a warm pinkish blush. Good covering power. Dissimilar from Naples Yellow Reddish that it’s very much a yellow - not an orange. Flake White #6000104 PW 1 - Basic Lead Carbonate j Semi-Opaque Very Fine Lightfastness: I - Excellent Basic lead carbonate. If you have ever used genuine, old fashioned Flake White you will love ours. This is ropy like it should be, warm, and with a beautiful sheen like pearls. Very flexible. CONTAINS LEAD. WARNING: HARMFUL IF SWALLOWED. Titanium White #6000101 PW 6 - Titanium Dioxide Rutile h Opaque Very Fine Lightfastness: I - Excellent The most opaque white. Very strong covering power. Titanium - Zinc White #6000121 PW 6 - Titanium Dioxide Rutile PW 4 - Zinc Oxide h Opaque Very Fine Lightfastness: I - Excellent A mix of Titanium and Zinc White. Combines the extremely light and manages to give the white Williamsburg Safflower Oil Colors just a slightly cooler and greener tone. Much Going back to the earliest traditions of oil lighter, much more transparent and with a satiny painting, Williamsburg offers 13 whites, , sheen, which is unique next to the very matte and other delicate colors made with a far quality of Davy’s Grey Deep. less yellowing safflower binder. Artists will find these invaluable for holding onto maximum SF Ultramarine Blue clarity and brightness in upper layers of #6003942 their paintings. Each of the colors has been PB 29 - Polysulfide of Sodium milled in the highest quality, expeller pressed Alumino-Silicate Safflower Oil. Twelve of these colors are also i Transparent Very Fine available in the linseed-based color palette; Lightfastness: I - Excellent however, Porcelain White is a new color being Beautiful, rich, clean and transparent. offered only in safflower. SF Flake White SF Ultramarine Blue French #6003104 #6003962 PW 1 - Basic Lead Carbonate PB 29 - Polysulfide of Sodium j Semi-Opaque Very Fine Alumino-Silicate Lightfastness: I - Excellent PV 15 - Polysulfide of Sodium Basic lead carbonate. A warm, buttery white Alumino-Silicate with a beautiful sheen like pearls. Very flexible. i Transparent Very Fine Least prone to cracking when used thickly. Lightfastness: I - Excellent CONTAINS LEAD. WARNING: HARMFUL IF It is beautifully transparent, incredibly rich and SWALLOWED. deep, with a hint of red in the undertone (after the French style). SF Porcelain White #6003103 SF Cerulean Blue French PW 5 - Complex co-precipitate of #6003857 barium sulfate and zinc sulfide PB 36 - Cobalt Chromate Blue- j Semi-Opaque Very Fine Green Spinel Lightfastness: Excellent* j Semi-Opaque Very Fine A good alternative for those concerned about Lightfastness: I - Excellent the brittleness of Zinc White. Historically known Similar to our regular Cerulean but made with by a variety of names, we chose the one we felt less tin. Therefore, it’s slightly greener and was the most descriptive. deeper. SF Ultramarine Pink SF Titanium White #6003774 #6003101 PV 15 - Polysulfide of Sodium PW 6 - Titanium Dioxide Rutile Alumino-Silicate h Opaque Very Fine i Transparent Very Fine Lightfastness: I - Excellent Lightfastness: I - Excellent The most opaque white. Very strong covering A beautiful transparent, limpid pink. Like all power. ultramarines, this leans toward blue-but very slightly-not enough to be violet. Very close in SF French Ardoise Grey feel to original Rose Madder, but more delicate. #6003050 PBlk 19 - Powdered Slate i Transparent Medium Lightfastness: I - Excellent A beautifully transparent pigment; its tint is SF Cobalt Violet Light #6003728 Williamsburg Iridescent Oil Colors PV 49 - Cobalt Ammonium Williamsburg Iridescent colors are colorfast Phosphate and permanent, made with ground so i Transparent Very Fine that even the “metallic” colors will not tarnish. Lightfastness: N/A There are some limitations inherent in the Ethereal, delicate, sublime. Not a strong tinter. composition of these colors: in order to refract light and appear metallic or nacreous, the SF Ultramarine Violet mica particles must not be ground too small. #6003764 They should be almost like tiny crystalline PV 15 - Polysulfide of Sodium prisms sparkling with glints of light. Because of Alumino-Silicate this, the paint has a semi-translucent quality i Transparent Very Fine and ceates beautiful blends when mixed with Lightfastness: I - Excellent transparent colors. Beautiful, natural-looking violet. Does not look synthetic in any way. Its only limitation is that it is an extremely weak tinter. Its beauty is Iridescent Copper properly seen in glazes. #6001883 N/A – Iron Oxide coated Mica SF Italian Terra Verte Particles #6003013 j Semi-Opaque Medium PG 23 - Natural Ferrous Silicate Lightfastness: N/A containing Magnesium and Bright and rich with a warm reddish glow. Aluminum Potassium Silicates i Transparent Medium Iridescent Pale Gold Lightfastness: I -Excellent #6001823 The true Brentonica earth. Semi-transparent, N/A – Titanium Dioxide and Iron slightly gritty, with a velvet-like, soft, light- Oxide coated Mica Particles absorbing surface. A delicate green. Not an j Semi-Opaque Medium opaque, olive or yellowish green. Lightfastness: N/A Warm, soft, lustrous tone - not brassy or tinny. Iridescent Pearl White #6001863 N/A - Titanium Dioxide coated Mica Particles j Semi-Opaque Medium Lightfastness: N/A Really does resemble crushed pearls. Mixed with other transparent pigments, such as Ultramarines or Phthalos, makes beautiful iridescent colors. Iridescent #6001853 N/A - Iron Oxide coated Mica Particles j Semi-Opaque Medium Lightfastness: N/A Is somewhat stronger in covering power than our Iridescent Gold, also deeper with a mellow burnished look. In certain light, it appears to Interference Blue have a very subtle greenish cast. #6001803 N/A - Titanium Dioxide Coated Iridescent Silver Mica Particles #6001833 i Transparent Medium N/A - Titanium Dioxide coated Lightfastness: N/A Mica Particles j Semi-Opaque Medium Interference Green Lightfastness: N/A #6001893 Nice, light and luminous. Not greyish. N/A - Titanium Dioxide Coated Mica Particles Iridescent Pewter i Transparent Medium #6001843 Lightfastness: N/A N/A - Titanium Dioxide coated Mica Particles j Semi-Opaque Medium Lightfastness: N/A Soft, warm, velvety matte. A dull sheen.

Williamsburg Interference Oil Colors The Interference colors are mica-based colors that look and act like a transparent pearl, but play with the light and throw off color with the most mysterious effects. Imagine the colors that shoot out of a fire opal, except each color is isolated. For example, Interference Violet goes on like an almost colorless glaze but the violet “fire” picks up and reflects light, particularly on dark surfaces. These interference colors work best in glazes as they lose their opalescent sheen when mixed too much with other colors.

Interference Violet #6001813 N/A - Titanium Dioxide Coated Mica Particles i Transparent Medium Lightfastness: N/A Interference Red #6001873 N/A - Titanium Dioxide Coated Mica Particles i Transparent Medium Lightfastness: N/A WILLIAMSBURG MEDIUMS Genuine Rabbit Skin Williamsburg is proud to offer a unique Glue selection of grounds, mediums and #6009010 other products to enhance the painting This is genuine rabbit skin experience. Mediums are available in 4 and glue, not hide or hoof. 8 oz. bottles and pint or quart cans. Larger sizes are available upon request. Williamsburg Grounds & Primers Williamsburg Oils & Mediums Titanium Oil Ground Linseed Oil #6009015 #6009003 Oil ground made with Genuine alkali-refined Titanium Dioxide and linseed oil. Increases flow, marble dust for the transparency and gloss. desired amount of tooth Useful as ingredient in and absorbency. Ground painting mediums. in 100% alkali-refined linseed oil. Contains no zinc or alkyd. Cold Pressed Lead Oil Ground Linseed Oil #6009128 #6009026 A traditional oil ground Genuine, cold-pressed made with Basic Lead linseed. Extracted through Carbonate and marble pressure alone. Less dust for the desired processed than alkali- amount of tooth and refined. Closer to what was absorbency, then adding used in the past. a slight amount of Titanium White to improve opacity and brightness. Ground in 100% alkali- refined linseed oil. Contains no zinc or alkyd. CONTAINS LEAD. WARNING: HARMFUL IF SWALLOWED. Stand Oil Resins, Waxes & Glues #6009004 A thick and honey- Damar Crystals like linseed oil with #6009012 excellent leveling properties. Increases flow, transparency, and gloss. Useful as ingredient in painting mediums. Slower drying and less yellowing than other linseed oils, it creates a smooth, durable, and flexible film. Pure Beeswax Pellets #6009011 Wax Medium #6009007 Pure beeswax, damar resin, and refined linseed oil. No paraffins or microcrystallines. Use in Pure Beeswax Blocks moderation to thicken #6009111 paint and impart a short, buttery texture. Increases transparency and dries to a satin sheen. Extender Medium #6009017 Marble dust and barium sulfate in linseed oil. Semi-transparent. Moderate drier. Used to extend oil paint without altering its consistency. Add to a maximum ratio of 1:1 Extender to paint. Will increase the tendency to yellow. Use as an additive only. Alkyd Resin #6009022 Made from a slow-drying pure alkyd resin with the consistency of a thick Stand Oil. Dries to a glossy, flexible, and enamel-like film. Useful in making other mediums or added directly into oil paints to modify transparency and flow. WARNING: COMBUSTIBLE. VAPOR HARMFUL. Williamsburg Handmade Oil Colors 188 Bell Road New Berlin, New York 13411 607-847-6154

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